Solor Posted November 2, 2002 Share Posted November 2, 2002 Who wrote the pas de odalisques from Corsaire? How about the Pas D'sclave? Link to comment
Mel Johnson Posted November 2, 2002 Share Posted November 2, 2002 I'm not sure about the Odalisques, but I believe the "Pas d'Esclaves" is cribbed from Pugni's Esmeralda. Link to comment
rg Posted November 2, 2002 Share Posted November 2, 2002 if mem. serves the odalisques' music is heard on the recording of LE CORSAIRE which claims to be Adam. the Pas d'esclave, where the ballerina is unwound from her veiled costume by her partner, has music by one one Prince Oldenbourg. (that was the credit given when baryshnikov's abt first presented the duet w/ a. gudonov and s. jaffe (in her surprise debut), as staged by diana joffe in 1980 - this is the pas de deux for gulnare and lankedem in the slave market and something of a highlight staple w/ soviet ballet (a touring troupe led by vyacheslav gordeyev used to perform it as an excerpt). it never gained as much popularity outside russia as the ali/medora pas de deux made famous in the west by nureyev (and fonteyn), which is said to have been composed by drigo, interpolated for legnani in petipa's 1900(?) restagings of his multi-act ballet. (mindy aloff's notes on the pbs site for the abt 'corsaire' telecast, which i've printed out, but which may still be on line, confirm the ident. of the medora/ail (+ conrad) pas as being to the music of drigo, info. no doubt gained from a.m.holmes thru her connections to soviet ballet via dudinskaya.) abt's press kit for its current CORSAIRE production still gives the name of Prince Oldenbourg for its pas d'esclave. who knows if we'll ever know any of this for certain. maybe wiley's upcoming book on petipa will spell out some things w/ more certainty. Link to comment
Mel Johnson Posted November 2, 2002 Share Posted November 2, 2002 You know, this discussion is very useful, as we've read for years how the old Imperial system allowed free-style swiping from one ballet to another, and how Tchaikovsky's insistence on scores as a musical whole was a significant position for composer to take. I honestly thought the Oldenbourg was an adage later on in the ballet, but Wiley, if anybody can, should be able to sort the mess out! Link to comment
Solor Posted November 3, 2002 Author Share Posted November 3, 2002 Really....is that by the same guy that wrote "Tchaikovsky Ballets"? How extraordinary that he is writing that! I will be first at the book store! Does anybody know when this book is to be released? Is he going to go into great depth about all of his ballets? Are there any resources on the web for this book? Link to comment
rg Posted November 3, 2002 Share Posted November 3, 2002 this book has been in the works for years now. i believe it was on wiley's 'plate' before he came out w/ his 'ivanov' book. i have not heard any recent news of a possible publication date for this petipa study, but it would seem to be preparation. we'll post news if/when we find anything firm. Link to comment
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